Muse

“My goodness,” he thought, the realisation having suddenly dawned upon him. “I haven’t listened to any Muse in ages.”

And this is a bit weird really, because they’re one of those bands nearly all of whose songs I nearly always enjoy. And thus, with wanting to share something from them, the only problem was which one to choose. I had a good time listening through several (or more) of their efforts before plumping for Mercy.

And then I changed my mind and went old-school with Bliss. In which the lead singer takes a bit of a tumble.

We’ll save Mercy for another day. Soon.

Just enough electronica to keep the electronica people happy.
Just enough rock’n’roll to keep the rock’n’roll people happy.
And just enough wind resistance in deep space to irritate the astrophysicists.

All set to the backdrop of Matt Bellamy’s soaring vocals.

Popping a Muse playlist onto my Spotify before heading off to Europe now seems like a very sensible idea.

2018 album news

Lifted (in part at least) from the BBC 6 Music article 18 albums we’re looking forward to in 2018. As ever, their selection does differ somewhat from mine, but there is still some correlation.

I heard the “new” Manic Street Preachers single International Blue for the first time yesterday (hey, it’s been December) and I was instantly hooked. Described – accurately – as a sister song to this immortal classic:

…it promises much for their Resistance is Futile album, due early April.

We’re also “promised” offerings from Sleaford Mods, Muse (who knows what we’ll get this time: I’m going for a glam rock orchestral rave electronica classical piano opus), hometown boys the Arctic Monkeys and the rest of those Belle and Sebastian EPs.

That’s a lot of potentially great music to look forward to. 2018 could be almost as good as several of the previous years have been.

New Muse Song!

There’s new stuff from Muse? So why would I blog anything else today?

It’s called Dig Down, and the video is – once again – set in a futuristic, post-apocalyptic, digital world full of cyborgs and flickering monitors.

Remember Madness from their last album? Well, this is basically exactly the same song. The trouser-wobbling electronic bass is there, the Queen-esque theatrical guitars and vocals are there, Matt Bellamy’s imploring voice soaring over the lot of it. Not much progression here, to be honest.

Hmm. Jury’s out.

Is This The Best Album Review Ever?

And Was That A Bit Of A Clickbaity Post Title?

Whatevs.

I’ve been listening to Drones, Muse’s seventh studio album for a couple of weeks now and it’s still not quite bitten. Just still a little bit hit and miss for me. One thing that is for sure (and is backed up by ever other review I’ve read thus far) is that it’s a “concept album” set in “a harrowing, Orwellian picture of a world reduced to a totalitarian state”, and describing “the journey of a human, from their abandonment and loss of hope, to their indoctrination by the system to be a human drone, to their eventual defection from their oppressors”. Happy days.

Continuing from where The Resistance left off and railing against Big Government and Big Corporates (the album is released on small independent label, Warner Bros), Drones – promised as a return to their roots – seems to have done that rather effectively by simply being a mishmash of all the previous Muse albums. And that is no bad thing. In fact, musically, I think that the individual tracks are fairly spectacular. Together, though – I just don’t know.

Some people have made their minds up though, like this reviewer for example. Call it a hunch, but I don’t think that he’s hugely impressed.

F*** me with the wet end of a guided f***ing missile that’s accidentally landed in a giant tub of f***ing horseshit, the f***ing swear word hasn’t been coined that’s sufficiently f***ing potent enough to convey just what a jawdroppingly, pants-chewingly, arse-achingly abysmal f***ing album these serially offending c***wits have come up with this time round! To call it “utter bollocks” would a f***ing insult even to the meanest, sweatiest pair of bollocks! I would in all seriousness consider my time to have been more rewardingly spent if I’d pressed my f***ing ear up against the bollocks of a random f***ing bloke on the tube for 53 f***ing minutes than listened to the toxic f***ing barrel of rancid elephant smegma that is Drones! Can you imagine the internal agonies of whatever poor c*** of a f***ing record company executive had to experience every last minute of this pompous, incoherent, incontinent, beyond-laughable, addled, 112th rate, thunderously f***ing vacuous tower of toss?

If you can get past the constant self-censorship (which is actually rather off-putting, and not just in that is constantly disrupts the readability of the column) and try to imagine this as the rage of a utterly livid music journalist (something like an unrestrained Nick Taras) in a darkened room of a bedsit in London, rather than a contrived attention-seeking list of obscenities, then it could be one of the best album reviews ever. And I’m giving “Mr Agreeable” (for it is he) the benefit of the doubt, because lines like:

the toxic f***ing barrel of rancid elephant smegma

and:

“Save me, from the ghosts and shadows before they eat my soul”, warbles Bellamy, like he’s having his f***ing gonads sandpapered by an over-fussy mother!

would get nothing but praise were they to appear in an episode of Blackadder.

Mr Agreeable may not be Richard Curtis or Rowan Atkinson. He may not even be agreeable.
But this might just be the best album review I have ever read.

Hysteria

If I didn’t play the violin, I would want to play the cello. Cellos sound great. So when I spotted this earlier on StephanieBe’s blog, I simply had to share it on here because it’s an excellent cover of an excellent song, done… er… excellently.
On cellos.

So. Much. Energy.

As Ms Be points out, it’s worth clicking the SETTINGS > QUALITY and banging it up as high as your bandwidth will allow, if only for the better sound.

2CELLOS are Luka Sulic and Stjepan Hauser and have an album out, which includes their covers of Thunderstruck and Radiohead’s Street Spirit (Fade Out) which is very special.
Oh, and fun fact: this video was filmed at a real mental hospital in Pula, Croatia.